FILM@TW0_SENSER: These Final Hours

How would you spend your Last Day on Earth?

This is the question posed by These Final Hours. It's a question that's been asked many times before. Celluloid has placed the Earth and the Human Race in many apocalyptic scenarios, from alien invasions to climatic catastrophes, to viral pandemics. Most of these have been huge, effects-driven blockbusters - and although the Apocalypse told on such a grand-scale certainly draws the crowds - it's the smaller, more intimate stories that leave a lasting mental impression, and lead you to really ponder the question, "What If?" 

Set in Perth, Australia, we quickly learn that this is the final day on Earth and that the Western Australian city only has 12 hours left before the inevitable downfall that has already taken down Europe, Canada and a large chunk of the rest of the world.

We meet the self-absorbed James (a believable and gritty performance by Nathan Phillips) as he is rushing off to his mate’s massive house party to drink his sorrows away and forget about the looming end of life as we know it. It’s a dark, foreboding urban landscape that James traverses - as society falls apart at the seams, and the city's inhabitants cope with the impending disaster in their own, often disturbing and macabre ways.

Unforeseen events then place James in situations where he is forced to choose between his own self-destructive resolution and the last shreds of humanity that are buried away, deep within him. 

What is most disturbing about this movie, and the reason why it works so well, is that the scenarios presented are entirely plausible. We all like to think of ourselves as decent, civilized human beings. But when presented with just 12 hours to live; and a fate we simply cannot escape - would it be so difficult to slip from the shackles of humanity and rapidly descend into a much darker state of consciousness?

Adding to a growing list of recent explorations into the Apocalypse by way of Antipodean directors and storylines, (see The Rover and the upcoming Mad Max reboot), director Zak Hilditch takes us on a journey without destination, although we inevitably, unequivocally know where we're headed...

MUSIC@TWO_SENSER: Thom Yorke - Tomorrow's Modern Boxes

"Wild dogs are howling, Behind the curtains..."

I am absolutely thrilled with Thom Yorke's new release. Not only is he breaking boundaries by releasing this latest solo work via bit-torrent, but the material is as experimental and far-reaching as ever.
Like many of his tunes, a lot of the tracks start off sounding weird and outlandish, but those sneaky rhythms and beats eventually grow on you the more you listen in. Thom is in his own private universe and I hope he remains there, discovering new soundscapes as he spacewalks along...

Do yourself a favour and give this a listen - its the perfect antidote to a U2 force-feeding...

("The Mother Lode" in particular has got me waving my hands in the air.)

And before you buy, check out this excellent track-by-track review of 'Tomorrow's Modern Boxes' by Rolling Stone. 

FILM@TWO_SENSER: Pompeii

In a moment of weakness, and subconsciously knowing exactly what I was getting myself into, I decided to watch Pompeii... And I have come to the conclusion that a Paul W. S. Anderson movie is where all actors go to die. 

Let me explain...

You know Asylum Films - that production company that makes low budget versions of Hollywood blockbusters (eg: Atlantic Rim, and Age of Tomorrow)? This initially felt like a cheap rip-off of Gladiator, with an exploding volcano thrown in for good measure. 

The first thing you notice is, "Hey, hang on a minute, isn't that Jon Snow from Game of Thrones? What's he doing away from The Black Watch? And isn't that like, Heavy Duty from G.I.Joe? What's he doing with a strange accent and cheesy one-liners? And isn't that the Police Captain bloke from Grimm? What's he doing with a pansy haircut and less lines to say than some of the animals appearing on-screen?

But wait, that's not all - isn't that Prof. Moriarty from Sherlock Holmes? What's he doing being mis-cast as a spineless and ineffectual Roman leader? (By the way, the actor in question is Jared Harris - son of the legendary Richard Harris, who might actually be rolling in his grave). But the greatest travesty comes from Kiefer Sutherland, who obviously needed some spare change to take this role - playing a cliched cruel and unscrupulous senator.

In fact 'Cliche' is the operative word for this movie - you've seen it all before - so don't be surprised if you watch many of the scenes with a sense of deja-vu. W. S. loves his action sequences, so the gladiatorial battles are fast and furious - and the volcanic eruptions are actually quite beautiful. And quite clever.

Unfortunately there's nothing clever about the plot - our main protagonist's upbringing and means of gaining proficient fighting skills are all glossed over. After losing his father and his tribe, obviously he's got an inherent hatred of the Romans, but hell, so did most of subjugated humanity at the time... He also conveniently falls in love with the main female lead within seconds of seeing her, prompting that old 'unrequited/forbidden love' movie chestnut. (Her mother, incidentally, is played by Trinity from The Matrix, who obviously had some time on her hands now that Neo's escapades are over).

Having said all of this, again I must say I knew what to expect, and therefore wasn't as disappointed as I might have been. In the climactic scene, as fire and brimstone rains down upon the doomed city, I dare say a few budding movie careers will also go up in flames.

Pompeii. Better than a punch in the face. Only just.